As an essential part of English music-making, organ music developed completely independently of the continent until the middle of the 19th century. Until then, even large English organs had no independent pedal division or only an attached pedal. Accordingly, the present collection consists only of manualiter pieces and predominantly of the typical two- to four-movement voluntaries. In keeping with English tradition, these works can be played on the organ as well as on the harpsichord. The pieces are also available individually as pdf files. Simply click on the drop-down menu under ‘Issue (please select)’.

From ‘Solomon’, Act 3, HWV 67 George Frideric Handel's (1685-1759) festive and lively sinfonia ‘ The Arrival of the Queen of Sheba ’ from the oratorio Solomon is one of his best-known and most popular works. The characteristic blend of Baroque splendour, dance-like lightness and melodic clarity makes the piece a highlight in concerts and church services. In the arrangement by Arvid Gast (organ) and Joachim Pliquett (trumpet), the work is given an impressive sonic transformation for two instruments. The trumpet takes on the radiant upper voices, while the organ fills the orchestral part with baroque splendour and rhythmic precision. This version is ideal for festive occasions, church celebrations and as an effective concert opener. A classical work of the Baroque period – newly interpreted in a playful and audience-friendly arrangement. Content: 1. Allegro

Johann Sebastian Bach (1685–1750) is considered one of the most important composers in the history of church music. His chorales remain a cornerstone of liturgical music practice to this day. Three expressive chorales from Bach's cantatas ‘ Ich armer Mensch ’ (BWV 55), ‘ Wachet auf ’ (BWV 140) and ‘ Der Friede sei mit dir ’ (BWV 158) in easy to moderately difficult arrangements by Eberhard Kraus (1931-2003) for trombone (C) and organ. In addition to concert performances, these pieces are also intended for use in liturgy and are equally suitable for beginners and advanced brass players and organists. Content: 1. Erbarme dich, erbarme dich ( BWV 55- Have mercy, have mercy) 2. Zion hört die Wächter singen (BWV 140 - Zion hears the watchmen singing) 3. Welt ade, ich bin dein müde (BWV 158 - Farewell, world, I am weary of you)

Lotte Backes (1901–1990) was an important German pianist, organist and composer of sacred music and organ works. She lost many of her works during the war, recomposed after 1945 and was active in Berlin. This composition in the form of a litany is a liturgical organ work for organists and church musicians.

Lotte Backes (1901–1990) was an important German pianist, organist and composer of sacred music and organ works. She lost many of her works during the war, recomposed after 1945 and was active in Berlin. This composition consists of two pieces from a liturgical organ work for organists and church musicians.

De profundis Hans Fleischer (1896–1981) was a German composer and pianist of the late Romantic period, influenced by Max Reger and Hans Pfitzner. He studied composition with Carl Kittel and Johanna Senfter. In addition to his freelance work, he was a music teacher and deputy director of the Luxembourg State Music School during the Second World War. His oeuvre includes symphonies, concertos, chamber music, piano works and songs. The present work is part of his extensive compositional oeuvre. It consists of three movements. Contents: 1st movement – very slow 2nd movement – in calm motion 3rd movement – slow

New edition based on the first Paris print (1708) Pierre Du Mage was born in Beauvais around 1676. He received his first music lessons from his father, who was organist at the cathedral. The young man then completed his organ and composition studies with the famous Louis Marchand in Paris. By 1703, he was already titular organist at the royal collegiate church in Saint-Quentin, where the new giant organ had just been completed. In 1708, the Livre d'Orgue was published, the composer's only known work: a kind of suite of eight pieces in the elegant, brilliant style of his teacher Louis Marchand, which, however, as Du Mage modestly states in the dedication, were not worthy of ‘one of the most perfect instruments in the world’. Du Mage died on 2 October 1751. Content: 1. Plein Jeu 2. Fugue 3. Trio 4. Tierce en Taille 5. Trompete Bass 6. Récit 7. Duo 8. Grand Jeu

During a visit to Coutances Cathedral in Normandy: the babble of other visitors, a guest organist trying out different registrations, the resulting introspection. In the three extremely contrasting sections of the ‘Triptych’, Alois Bröder captures this experience musically on the same day. In its extreme restraint, the third and by far longest part in particular represents the experience of connecting the sensually perceptible world with one's own inner self.

Choral Fantasy for Organ First critical edition of the only contemporary manuscript from Bach's circle Johann Adam Reincken (1643–1722), organist at St. Catherine's Church in Hamburg, was one of the most outstanding North German organists of the 17th century. Compared to the oeuvre of his friend Dieterich Buxtehude, very few of Reincken's works have survived. These include only two chorale-based organ pieces, both of which belong to the genre of the chorale fantasia, but are among the most important of their kind. The only surviving copy of Reincken's famous chorale fantasia, made by Bach's son-in-law Johann Christoph Altnikol, had been lost since 1945 and is now being presented in a critical edition for the first time after its return from Russia to Berlin. Content: - Choral An Wasserflüssen Babylon (By the Rivers of Babylon) - Encouragement to register - Disposition of the Hamburg Catharinenorgel 1720 - Johann Adam Reincken: ‘An Waßer Flüßen Babylon’ | Choral Fantasy - Critical Report

2 Fantasies for Organ In the Contrapuncti dodecaphonici , melodies from Gregorian chants and hymns in the local language are arranged in the following sequence of twelve tones, inversion, inversion of the inversion, in all possible transpositions. The individual pieces are suitable for liturgy as well as for a coherent concert performance. All pieces can be played on a single-manual organ. Most pieces can be easily played on a two-manual organ. Content: I. ‘Credo in unum deum’ II. ‘Discipulis flammas infundens’

In the Contrapuncti dodecaphonici , melodies from Gregorian chants and hymns in the local language are arranged in the following sequence of twelve tones, inversion, inversion of the inversion, in all possible transpositions. The individual pieces are suitable for liturgy as well as for a coherent concert performance. All pieces can be played on a single-manual organ. Most pieces can be easily played on a two-manual organ. Content: 6 chorale preludes for organ 1. Ihr Freunde Gottes allzugleich (All ye friends of God) 2. Wenn mein Stündlein vorhanden ist (When my hour is at hand) 3. Nun komm der Heiden Heiland (Now come, Saviour of the heathens) 4. Es ist ein Ros entsprungen (A rose has sprung up) 5. In Dir ist Freude (In you is joy) 6. Wie schön leucht' uns der Morgenstern (How beautifully the morning star shines upon us)

Hymn in six verses on ‘Veni Creator Spiritus’ for organ In the Contrapuncti dodecaphonici, melodies from Gregorian chants and hymns in the national language are compared with the following sequence of twelve tones, crab, inversion and crab inversion in all possible transpositions. The individual pieces are suitable for liturgy as well as for a combined concert presentation. All pieces can be played on a single-manual organ. Most pieces can be easily played on a two-manual organ. Content: 1. Veni Creator Spiritus 2. Qui diceris paraclitus 3. Tu septiformis munere 4. Accende lumen sensibus 5. Hostem repellas longius 6. Per te sciamus da patrem